Collider's Perri Nemiroff recently delved into the terrifying world of the film "Passenger," conducting exclusive interviews with the creative team behind the chilling road horror movie. Producers Walter Hamada and Gary Dauberman, along with writer Zachary Donohue, shared insights into the film's origins, its "cursed" production, and the intricate creation of its eponymous demonic entity. Directed by André Øvredal, known for "Troll Hunter," and co-written by Donohue, "Passenger" aims to leave audiences deeply unsettled long after its release.

The genesis of "Passenger" is deeply personal for Zachary Donohue, who drew inspiration from his childhood experiences driving on eerie, secluded backroads in upstate New York. A terrifying car breakdown in his youth, coupled with a later car accident at age 20, solidified his desire to craft a "road horror movie." The pivotal "break-story moment" arrived when Donohue conceived the idea of connecting the countless regional tales of haunted roads into a singular, malicious entity – the Passenger, played spectacularly by Joseph Lopez. As producer Walter Hamada questions, "If there's a Saint Christopher... there's got to be something out there that's the opposite side of that coin." Donohue deliberately chose a demon over a creature, believing that a sinister, human-shaped figure appearing in headlights at night is inherently more terrifying and "unknowable."

The production of "Passenger" itself became a chilling saga, marked by numerous inexplicable paranormal incidents that led the crew to believe the set was "cursed." Producer Gary Dauberman recounted how the idea of a "haunted house on wheels" presented unique challenges, prompting a desire for practical filmmaking. These challenges were amplified by the decision to shoot entirely on location across the diverse landscapes of Washington state during the freezing winter. The crew, including a stunt driver exposed to the harsh elements in an open cage rig, endured "miserable" conditions to capture authentic footage, despite André Øvredal later joking that much of the background effectively went to black anyway due to low light. Walter Hamada detailed a series of bizarre occurrences: he had four flat tires, the first AD experienced four flat tires on the first day, the director had two flat tires on the first day of additional photography, and Joseph Lopez's blanket caused his daughter's car engine to blow up. Furthermore, Melissa Leo's van randomly became infested with flies that repeatedly returned even after extermination. Such incidents prompted the team to bring in not only a priest to bless the set twice but also an exorcist during additional photography, a testament to the unnerving atmosphere surrounding the film's creation.

Joseph Lopez's portrayal of the Passenger was a critical element in bringing the demon to life. Donohue praised Lopez for imbuing the character with a distinct personality, physicality, and profound eeriness. Lopez's dedication extended to staying in character between takes, often breathing creepily in the back of the van, startling the crew. His unsettling scream, a favorite among the producers, even caused stars Jacob Scipio and Lou Llobell to jump out of their skin during camera tests, proving the effectiveness of his performance.

The practical filmmaking approach extended to the movie's most impactful scare scenes. André Øvredal and his DP, Federico Verardi, meticulously figured out how to fit a minimal camera package inside the vans to achieve dynamic shots. One memorable scare from the teaser trailer, where the Passenger appears in the car after multiple pass-bys, was incredibly shot in a mere 15 minutes due to time constraints. Conversely, the intricate, three-minute "oner" shot in the parking lot, a late addition by Øvredal not initially scripted, took an entire day of painstaking takes to perfect, showcasing the team's commitment to visual impact and authenticity. The logistical challenges of filming complex sequences in a confined vehicle were consistently significant, as Dauberman noted, unlike the flexibility of building sets for traditional haunted house films.

The importance of additional photography was also highlighted, often misconstrued as a sign of trouble. Walter Hamada clarified that it is now a standard, budgeted practice, akin to refining a script or workshopping jokes. It serves to enhance scares, clarify character arcs, and reincorporate elements cut during initial budget constraints. For "Passenger," additional photography allowed for critical enhancements, such as showing Jacob Scipio's character getting injured by the van crashing on his leg, a detail crucial for conveying the characters' struggle. The red light scene, where the character is seen through the taillights, also benefited from extra shots to stretch and build tension.

The cast members also shared their unique experiences. Stars Lou Llobell and Jacob Scipio, in their first horror roles, discussed how certain horror movies influenced their real-life habits and why Scipio specifically requested a priest to bless the set. Director André Øvredal contributed significantly to the script, particularly transforming the film's ending and working closely with Joseph Lopez to craft the Passenger's unsettling movements. He also drew inspiration from Guillermo del Toro's use of color language, which influenced crucial details within the van.

Looking to the future, the filmmakers shared their horror genre bucket list aspirations: Gary Dauberman is focused on directing and writing an original IP, Walter Hamada aims to create a "gateway horror" movie suitable for younger audiences as a first scary film, and Zachary Donohue hopes to remake a cult classic like "The Sentinel," believing it's "ripe for a remake." "Passenger" is now in theaters, inviting audiences to buckle up for a deadly ride.